I have a Letterboxd pro account because of the stats feature (which does not disappoint, I highly reccomend it if you are interested in the analysis aspect of lists you create) and out of curiousity, I checked who the top 10 directors were. Here's some insights and theories I have about this top 10:
Inital Insights:
The majority of these directors worked on the West Coast and at Warner Bros. at some point in their career
Only two international directors, Mead and Yuyama which coincidently represent the countries with the most 2nd and 3rd (Canada and Japan) countries are on this list respectively
Mead is the only known queer director in the top 10
Yuyama is on the list due to his work on film adaptations for the Pokémon franchise. Due to video game gender logic, certain characters have a more androgenous or ambiguous gender situation
Theories for next year:
Clampett and/or Avery will bump up to the top 6
Fleischer will reach the top 3
McKimson will get bumped out of the top 3
Freleng will stay at the number one spot
Yuyama will get bumped down to the 7th or 8th place
Warner Bros is on here the most in part because it had such a large output and that it's the studio I've watched the most
Not shown are at least 5 directors that could creep into the top 10. It also depends when I get to those respective decades. After the 1960s, I plan on shifting focus to the 1910s and 1920s. Once those two decades are done it's onto the 1950s. I plan on posting a followup once I'm almost done with the 1950s, though it's really the 1930s that will provide the best insight into what the final stats will be.
2025-07-18 13:26:31 +0000 UTC
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I'm working on one (of two!) lectures I'll be giving during the summer. I'm still fiddling with the graphics, but I wanted to share this really quick placeholder design I made for the first slide. I don't feel comfortable uploading the whole presentation once it is finished, but I will think about a way to share something from these lectures. Likely the screening list with some alternate suggestions once everything is all finalized.
I am also open to suggestions about fonts or other graphic tips since this type of design is very much not my forte, especially for this first slide since I'm not loving the font right now.
2025-07-03 21:16:05 +0000 UTC
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A trove of examples from all over the world of queer animated representation, from explicit characters to gender creativity.
This is an ongoing list as I add films I have on my main list. There's between 700 - 900 works I am still in the process of adding, but the overhaul should be done in a few months. I'll make an updated post once I have finished the main move.
I'm still deciding if I should organize this list a different way. Right now, the films are organized by country and chronologically within each section. Films with multiple countries are listed at the end with a note listing each country. For sanities sake, I can't list how a film is queer for every work, but a portion are noted. If there's something you have questions about, feel free to message me .
2025-07-01 04:12:35 +0000 UTC
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NOTE: Another early release Cartoon Research article I am able to share for interested readers! The only difference between this article and the one on Cartoon Research are the images.
To note, I am not an expert on music theory or history of music from this period, and as such, this article will be more casual in its analysis. I invite anyone in the comments to provide insights about the song arrangements, especially production and release information.
Now, for this article, I am not the first writer on Cartoon Research to discuss these recordings. Greg Ehrbar wrote “Disney’s “The Reluctant Dragon” – on Records” (2016) which examined in depth the All About Dragons (1966) album. Then James Parten’s article “Not So Reluctant” (2018) focused on select recordings from the 1940s. I’ll be covering the recordings they mentioned and then some. However, there still may be some versions missing due to a song’s unavailability online, or the cover was so obscure it wasn’t on my radar. Additionally, I will note at the end of each song notable lyrical differences. For the primary lyrics, please refer to the third article in this series. To identify the characters, “N” refers to the Narrator, “D” refers to the Dragon, and the number after refers to verse number. For example, N3 is the Narrator’s 3rd verse.
The Reluctant Dragon
Vocalists - Maury Cross, George Gingell
Swing and Sway with Sammy Kaye (1941)
https://youtu.be/ur1CQRYWt2c
For technical information regarding this recording, I shall refer to the website, Discography of American Historical Recordings (DAHR). This site will also be my main source of information for the versions released by Richard Himber and His Orchestra and King’s Men.
According to DAHR, Sammy Kaye’s recording is the earliest recorded version of the song, with two takes documented on 5/23/1941 in New York, New York. There are two credited singers on the record, one playing the dragon, Maury Cross - who is directly credited on the record - and George Gingell, who I’m inferring voiced the narrator.
As the earliest recorded version of the song, I feel it starts these covers off to a strong start, and compared to other covers from 1941, I prefer Cross’ overall interpretation of the character. However, I consider this version the most … aggressively flamboyant of the covers released in 1941. Even if one doesn't pay close attention to the lyrics, the way the dragon is portrayed makes it quite evident—especially in these earlier recordings—how one should interpret the character, with the singer typically portraying him with an exaggerated falsetto, to arguably varying degrees of enjoyability.
As noted by Parten in his article “More Cartoon Music – For Radio Only” (2018), NBC Thesaurus recorded a cover of the song, which is currently not available to listen to online. However, he notes NBC Thesaurus used “the same band that had recorded it for the Victor: Swing and Sway with Sammy Kaye. The same vocalists were used, and it’s probably difficult to tell one version from another.” I agree with Parten’s theory that the two versions likely sound the same, though I still hope a recording surfaces online.
Lyric changes:
The verse order is switched slightly, with N3 sung directly after N2. The remaining verse order consists of D2, N4, and D3. The last verse, D4, is removed entirely.
Reluctant Dragon
Vocalists - Harry Stanton and The Joseph Lilly Ensemble
Richard Himber And His Orchestra (1941)
https://www.youtube.com/watch?v=0YvR5vF7vlw
While location restricted on YouTube, those living outside of America can listen to a higher quality recording here.
Recorded in Los Angeles on June 26, 1941, this version captures the “bright jump tempo” described on some of the sheet music quite well, and is arguably one of the strongest arrangements among the versions that year. Of all the recordings from this year, this version is the one I prefer to listen to on repeat, but more so for the orchestration than the vocalist.
As with other performers from this period, the vocalist for the dragon sings in an effeminate manner. However, in comparison to other covers from this period, it’s a more restrained characterization of the dragon’s voice. Overall, feeling like a safe—albeit forgettable at times—interpretation, and one I would recommend to those who prefer a less overtly offensive portrayal of the character.
Lyric changes:
Due to a lengthened instrumental opening and interlude, N3 and N4 are removed entirely, while D3 and D4 are greatly shortened to include only the last three lyrics.
There’s an additional, final spoken line in which the dragon concludes the song in a goofy, bashful-esque voice: “Yah, I sure am reluctant I am.”
Reluctant Dragon
King’s Men (1941)
https://www.youtube.com/watch?v=tRQerHrtG90
Another restrained cover, in part because the orchestration is significantly simpler than in other versions from this period. While the King’s Men are a wonderful quartet—especially when performing as a group—the solo performances could have been given a stronger arrangement. In this version, the narrator is performed by the quartet, while the dragon is portrayed by two different singers, one performing low and the other high. Personally, of the two ranges, I prefer the falsetto-like interpretation. The switch between the two different variations—especially when the dragon has a call and response with himself—becomes a bit jarring.
Interestingly, the King’s Men performed the song on the Fibber McGee and Molly radio show. Since the King’s Men had previously appeared in some of Disney’s shorts and features, it makes me wonder if Disney specifically sought them out for these radio broadcasts. From what I can tell, the recordings available on YouTube are all from the King’s Men’s second appearance on June 24, 1941. Given that The Reluctant Dragon was released on June 27th, I assume their first performance was either earlier that month or sometime in May.
While there are minor differences in the opening and ending orchestration and in how a word is pronounced, the studio and live versions are fairly identical. Regarding when these performances occurred in relation to the release of the studio version, I’m not sure. DAHR lists they recorded in studio on June 28, 1941, which, if accurate, means the shellac was released after both the film and their radio appearances.
Lyric changes:
For this section, I will just compare the studio recording and not the live version.
The changes range from minor switches in lyric order within N2, to major ones with N3, N4, and D3 removed entirely. This version also includes some new verses for D2 and D4. While Charles Wolcott, Ed Penner, and T. Hee are credited for the lyrics, I can’t confirm if they wrote them.
A quick note: there’s one line in D3 that is incredibly tough to make out clearly, and I have noted it as indistinguishable. I believe “19, elevendy,” and “BC” are sung, but I would be interested in other listeners’ suggestions.
D2– I’m THE RELUCTANT DRAGON. That’s me, carefree!
I’m THE RELUCTANT DRAGON since (indistinguishable). Could be!
They call the timid Dragon
What rot! I’m not!
When others fight, I run away
I guess that I was born that way,
I’m to be Queen of the May today
D4– I’m THE RELUCTANT DRAGON.
I’m frail and pale
The awful reluctant Dragon.
Don’t step on my tail!
They call me the timid Dragon
What rot! I’m not!
I just won’t fight; I’d rather play. I know I shan’t get hurt that way
Here we go gathering nuts in May. I’m so reluctant. Wooo.
To me, one of the biggest changes is the removal of the whoops. I’m not sure why this occurred, but it’s important to note the queerness in the song is not removed entirely. Certain lyrics like “I’m to be Queen of the May today” remained intact. Arguably, the addition of the lyric “I guess that I was born that way” is even more forward-thinking, as it validates the belief that queerness is inherently there from the beginning, rather than the misconception that it is a “lifestyle” one chooses.
The Reluctant Dragon
by Tommy Tucker Time (1941)
https://archive.org/details/78_the-reluctant-dragon_tommy-tucker-time-don-brown-the-voices-four-penner-hee-wolco_gbia0099119a
The last of the covers I’ve found from 1941, this is the second time a vocal group all perform the narrator and provide the role of the chorus for portions of the dragon’s verses.
This version of the dragon returns to a falsetto performance sung by—I’m inferring—Don Brown. His interpretation is not the strongest and feels closer to trying to emulate Mickey Mouse than successfully capturing Barnett Parker’s original flair, or even the flamboyant styling of Maury Cross.
Of all the available versions of the song from 1941, I find this one the least interesting of the bunch, as I find neither the vocals nor the instrumental that memorable. Though I must admit my disinterest in this recording is in part because of the lower quality and excess noise from the audio, which admittedly makes it difficult to fully appreciate the rendition.
Lyric changes:
This version contains a long instrumental opening, resulting in the song containing only a select few of the verses: N1, D1, N3, and D3.
The dragon remarks, “Oh dear me I plumb forgot” in his last lyric before the song ends.
The Reluctant Dragon
Vocalists - Anne Lloyd, Michael Stewart, and Gil Mack
Mitch Miller and Orchestra (1954, re-released 1965)
https://www.youtube.com/watch?v=AnOEex0hd_k
Jumping forward to the 1950s, a shift occurs in who these songs are marketed toward. This begins the period when these covers are directly targeting a younger demographic, an aspect that remains consistent for the remainder of the versions in the 20th century. Though I would rather listen to the recordings from 1941, this is my preferred pick among the songs produced during the mid-century.
This one sticks out as containing the first fully baritone dragon. If I had to take an educated guess, Michael Stewart voices the dragon, Gil Mack the narrator, and Anne Lloyd can be heard in the chorus. Originally released by Golden Records in 1954, it was re-released several times, most notably re-issued on the Puff the Magic Dragon LP in 1965. In the original 1954 version, the song was split for the A and B sides. I am inferring the 1965 version is a combination of the two songs. Additionally, the 1954 release contains art all taken from the original 1941 film, with the art of the dragon playing his flute reused on both the sleeve and record.
Lyric changes:
This version contains the most drastic lyric changes, and though the lyrics are still credited to Wolcott, Ed Penner, and T. Hee, it’s a mystery why this occurred. It could simply be the original lyrics were considered outdated, or some other unknown issue arose, and a rewrite became necessary. Regardless, the queerness that was prevalent in the original version is now scrubbed away entirely and presents a much more sanitized version of the character.
D1 - I'm THE RELUCTANT DRAGON, you see, that’s me
A perfectly harmless Dragon, who likes to write poetry
I’m probably the sweetest Dragon, that’s me, you see
I hate to fight, don’t give a hoot
I’d rather sit and play my flute
Wow! I’m delightful
D2 - I’m a delightful Dragon, you know it so
A really delightful Dragon, and not a single place to go
But I’m a contented Dragon
I’ll stay right here
And sing to the bird and buzz with the bee
And at four o’clock I’ll sip my tea
Wow! I’m romantic!
Spoken -
N1 - Well Dragon old boy, it’s been jolly meeting you
I’d better leave and tell everyone I couldn’t find a mean old Dragon,
You’re much too nice to kill
Well, toodeloo
D3 - Toodeloo to you too!
Well, what do you know
He said I was the nicest Dragon (laughs)
Singing resumes -
D4 - Oh I am the nicest Dragon
Said he to me
He said I’m the nicest Dragon
And I very modestly agree
I know I’m a lazy Dragon
I’m slow, you see.
I don’t blow fire through my nose
I’d rather sit and twiddle my toes!
Wow! I am lazy
D5- I’m delightful…
Romantic…
The nicest…
The laziest…
The craziest Dragon around
The narrator is removed from nearly the entire song, instead appearing briefly during a spoken section after D2.
What I can best describe as vocal warmups are sung by the dragon before and after D1.
Reluctant Dragon
Thurl Ravenscroft
All About Dragons (1966)
https://youtu.be/k5Q0mSQNxAI?feature=shared&t=177
This version can be heard on the Disneyland Records album, All About Dragons. For those interested in more of the technical side and history of the album, I again recommend Ehrbar’s article “Disney’s “The Reluctant Dragon” – on Records.” My minor addition about this recording is that eagle-eyed observers will notice the art of the dragon appears to include his original navel design—before the Code swooped in and demanded all traces of it be removed. Interestingly, there’s a The Reluctant Dragon poster of the dragon in the same pose, but with the navel detail conveniently obscured or removed.
Compared to other versions of the song, this simplified arrangement does make more of an attempt at capturing a medieval flair reflective of the story’s original time period. While I initially suspected the string instrument was a mandolin, when I consulted with a string expert I know, he theorized it could be a bouzouki. Regardless, I can respect the attempt at trying a different musical direction for the song, though how memorable this choice ultimately depends on the listener’s taste preferences.
Anyone hoping Thurl Ravenscroft will put on an exaggerated falsetto while portraying the dragon will be greatly disappointed. Instead, he gives one of the rare portrayals of the dragon as a baritone. Where Ravenscroft really excels is in his dual role as both the narrator and the dragon. He distinguishes between the two characters wonderfully, both in register and characterization, and at times I would question if he truly was voicing both.
However, I’ll admit, despite being a fan of Ravenscroft, I’m a bit disappointed by this version. I’m more of a fan of faster songs, and this one is paced so slowly I couldn’t tell if the recording I listened to needed to be sped up. Ravenscroft’s articulation also could have been clearer at times, especially when he utters “whoops.” Sometimes the emphasis lands more strongly on the “oops” than the “wh” part, making it difficult in certain verses to distinguish whether he is saying “whoops” or “oops.”
Lyric changes:
Besides an additional word here and there in the narrator’s verses, there are no major lyric changes.
Medley: The Reluctant Dragon / Never Smile at a Crocodile
The Richard Wolfe Children's Chorus
The Ballad of Smokey the Bear and Other Favorite Animal Songs (1969)
https://www.youtube.com/watch?v=b9w-_ssrDuo
I have a confession to make. While I like children's records, I don’t often like listening to children’s vocals. So already, this medley is not for me. In addition, those expecting to hear a balance of both songs in this medley will be greatly disappointed, as this version contains much, much more of the second song, “Never Smile at a Crocodile.” On the other hand, at least there isn’t much for me to analyze.
Personally, this version is one of the most forgettable out of all the songs I’m covering and will likely be the only source of interest for the true “The Reluctant Dragon” cover completionists out there. But hey, at least it’s a quick listen!
Lyric changes:
This version contains none of the narrator’s verses and only covers D1, with no changes to the verse.
The Reluctant Dragon (excerpt)
Marlene Bellissimo (2020)
https://youtu.be/HMxinSXJ1l4?feature=shared&t=797
Moving now to the 21st century, this song is currently the only recording I am examining that is covered by a known queer artist. Unfortunately, Marlene confirmed with me that she never recorded a full version, but I still consider this excerpt a wonderful addition to “The Reluctant Dragon” song canon. Of particular interest is that this cover is one of the most simplified versions of the song, with only a piano and Marlene’s vocals. It was a nice surprise to hear such a simplistic accompaniment, which, given Marlene’s strengths as an arranger, works in this cover’s favor. In this version, the narrator has been removed entirely, and Marlene sings solely from the dragon’s perspective. By only singing the dragon’s verses, it refocuses the song and allows a reclaiming of the narrative.
This version can be heard at the end of her video essay, “Disney's Most Stereotypically Queer Film,” which analyzes the dragon character in depth. While her video on The Reluctant Dragon is a few years old, it was the first time I learned about the dragon being analyzed through a queer lens. I also consider her research, which is cited in the video’s description, a fantastic springboard for others interested in learning more about this topic. If one would like to support Marlene, you can subscribe to her YouTube channel Avelo, follow her on Instagram avelospricht, and support her on Patreon.
Lyric changes:
This excerpt only covers D1 and D2, and the narrator role is removed entirely.
This concludes part 4 on The Reluctant Dragon songs released throughout the 20th and 21st century. Upcoming articles in this series will focus on other animated adaptations of “The Reluctant Dragon” story, and the Reluctant Dragon’s later appearances in Disney media.
2025-07-01 03:53:28 +0000 UTC
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So when I'm not viewing pre-Stonewall era animation, I'm mixing up my watch rotation with some student films. This is a fantastic way to learn about new directors, perspectives, and artistic aesthetic trends.
Would people be interested in a list that only includes student films?
2025-05-01 22:35:42 +0000 UTC
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While I will not be attending Annecy (though I hope to go in a few more years!), with the release of their 2025 film schedule (and more importantly the film summaries), I decided to compile a list of films both canon and unconfirmed. The canon films range in representation, but the majority of these are explicit rather than containing just a one-off drag joke. For simplicity sake, I will just be listing the films and the link to the summary page, as I want to post this in a reasonable amount of time. Though that would be an interesting podcast idea... watch this space.... To note, consider the "unconfirmed" films as long shots, based mainly on film vibes and my knowledge about queer animation film patterns:
Queer confirmed:
Annecy Animation Showcase
Julián
Shorts - Official
Sappho (Okay, I am guessing with this one, but if doesn't include lesbian characters or themes I'll ugly laugh sooooo much)
Shorts - Graduation Films
The Angelic Touch
A Bird Hit My Window and Now I'm a Lesbian
Cleanliness
The Eating of an Orange (the only one on this list I've seen)
Flares
Football Stuff
Shorts - TV Films
Common Side Effects "Episode 9"
Max & the Midknights "Welcome to Byjovia"
Shorts - Commissioned Films
Naive New Beaters, Star Feminine Band "Ye Kou Si Kuo" (watched this, it's a bit of an open to interpretation situation at times, but I'm still going to count it)
Feature Films Contrechamp
Lesbian Space Princess
Unconfirmed:
Key:
* = The more asterisks the more likely I think it will count as part of the queer canon
Annecy Animation Showcase
Mu Yi and the Handsome General*
Shorts - Official
Les Bêtes**
Carcassonne-Acapulco*
Dollhouse Elephant*
Hairy Legs**
Ovary-Acting*
Sulaimani**
Shorts - Perspectives
All This Death*
Bloody Mess**
Shorts - Graduation Films
Better Man***
Casual***
Chair Cemetery*
Closed-Circuit Television (CCTV)*
Cottage Cheese*
Hand*
me***
Neh Neh Pok*
Passageways*
Sphere Supreme***
Sublime***
The Tale of Tran Thanh Duong**
The Virtue of Voice**
Weathered** (technically the puppet character is described with it/its pronouns which is why I'm giving it a higher asterisk rating, but I still want to watch it before moving it to the canon needs more context section)
Shorts - TV Films
Il est une fois**
Shorts - Commissioned Films
Arnold Turboust "Les Lettres de Krakovie"**
CNESST "Hanging by a Thread"*
The Eclipse*
Moving Back Moving Up**
My Algorithm*
Naruto x Oasis*
Need a Good Sleep*
Olipop Yeti**
Starpets Teaser**
Vinheta CineSesc**
Welcome to the City of Love***
Feature Films Official
Death Does Not Exist***
Olivia and the Invisible Earthquake*
Feature Films Contrechamp
Endless Cookie**
The Great History of Western Philosophy**
Jinsei**
Olivia & The Clouds**
Screening Events
The Bad Guys 2**
Fixed**
Walt Disney Animation Studios – Welcome Back to Zootopia!***
Annecy Presents
I Am Frankelda*
Stitch Head*
Midnight Specials
Mononoke The Movie: Chapter II – The Ashes of Rage**
In summation: As usual, I'd love for any of the “unconfirmed” films to become canon, but we shall see. Of the confirmed works, I'm most interested in Julián, mainly because of how many directions the film can go. For the explanation about the "unconfirmed" films, watch this space...
2025-04-30 19:28:52 +0000 UTC
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I finished digitizing five of the (currently) eleven Brevities in my collection.
For those who are not familiar with Brevities, this New York tabloid began as Broadway Brevities before shortening its name by the 1930s. It was known for its scandalous and salacious articles, often covering subjects related to sex work, murder, celebrity gossip, and/or the queer community. It wasn't necessarily a queer tabloid paper, but that was a topic of interest and it was one of the few papers one could read about it in such a direct fashion. On nearly every page there is a cartoon illustration, often centered on a sexual joke or other blue humor. It is incredibly difficult to find full editions of these tabloids online, and very few archives carry the tabloids for viewing. In fact, it appears that private collectors are more likely to own these materials despite the tabloids’ importance as both a historical and queer document.
As a disclaimer, these tabloids include racist imagery and language, discussion of sex including sex work, mention of drugs, homophobic language, and much more.
While the majority of my Brevities are in a readable state, a few were in a more fragile condition and became quite brittle. These were so delicate they would frequently rip and fall apart during the scanning process. This means for select tabloids, the scans do have some text missing and noticeable rips and tears. Fortunately, of what I have in my collection, these specific tabloids are in the worst condition, so after these five, the quality will improve.
Due to the rarity and content of these tabloids, they can be quite pricey to acquire. My Patreon helps ensure I can buy additional copies when I come across them. I intend to post the uploads on Internet Archive either at the end of 2025 or in 2026, so I am requesting that the link is not circulated at this time. But please feel free to shout out the availability of these tabloids so others may know.
You can read the Brevities H E R E
I am also providing some additional resources for those curious about the history and ways to explore more of these Brevities:
If I come across any additional resources, I'll make a masterpost combining all additional information rather than having it scattered in multiple posts. For right now, though, the above links are a good start.
2025-03-30 20:46:53 +0000 UTC
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Every six months, Patreons of the $5 tier and up can suggest a film they would like to be put on the website! Though there are some rules:
Please include 3 options with #1 being your top choice
You don't have to go into any detail why you want a work included, though that can help when I'm deciding which film to pick
They must fit the guidelines listed on the website's FAQ.
It can be a feature length work (40+ minutes)
It can already be in the to be considered list
It can be NSFW, but the less explicit the more likely I will pick it. It doesn't need to be an all ages level SFW film, especially since I know there are some very graphic works on my website, but I try to not include NSFW works in excess
You can suggest a film with just a drag gag
I will let each Patreon know which film I have decided on in a few days after you send me your options.
I cannot wait to see what suggestions I receive!
2025-03-24 18:26:04 +0000 UTC
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Howdy everyone!
As I start updating my website, I have decided to share a new Google doc. There are three tabs on the doc:
1. What's publicly available on the Queer Animation website
2. Films that have been added onto the website but are currently set to hidden
3. Films I am considering of adding to the website
Now, unless a film is noted, the "to be considered" list is not set in stone. You will likely see some changes, especially in the upcoming weeks. I tend to switch out films for a variety of reasons, from context and cataloguing, to if it's even streaming online.
2025-03-24 18:24:05 +0000 UTC
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Catching up and posting February’s recommendations as well!
Music: k.d. lang's Recollection (2010)
I really, really, really should listen to more k.d. lang. This compilation album is a fantastic introduction for first time listeners of her work, and includes one of my favorite covers she ever recorded So In Love. Not only is it a beautiful cover, but have you seen her perform it on Letterman!? I also HIGHLY recommend her cover of Secret Love that can be heard at the end of the documentary The Celluloid Closet (Dir. Rob Epstein, Jeffrey Friedman, 1995).
You can listen to the full album here.
Film: The Battle of the Century (Dir. Clyde Bruckman, 1927)
So another side project I'm working on is examining how drag was depicted in group comedy acts from the Golden Age of Hollywood. Due to my queer animation work, this project has been put on hiatus, but it's something I hope to return to in a few years.
This one unfortunately doesn’t have anything of queer interest, BUT there is an absolutely incredible pie throwing scene that had me absolutely in stitches, essential viewing for fans of physical comedy.
You can watch the restored version here.
Book: The Complete Wimmen's Comix, edited by Trina Robbins (2016)
I've been wanting to get back into one of my early interests, comix, for a few months now. Since queer representation and comix art have quite an interesting history, Wimmen's Comix is one of those collections I'm glad has been released in full. I bought the physical copy, but as you can see below, there are digitized scans of the text available to read.
You can read the full book here.
2025-03-02 22:56:09 +0000 UTC
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Trying another graphic style for these, though I still may change it up. Thanks for your patience everyone!
Music: The Yentl soundtrack
Okay, so, it's really just "A Piece Of Sky" that I've been playing on loop, but I have such a like/dislike relationship with this album.
My main dislike is how Mandy Patinkin, who knows fluent Yiddish didn't even get a single lyric to sing throughout the entire album. In fact, the song "No Wonder (Part Two)" has Barbra singing AND exchanging dialogue as multiple characters instead of having another artist on the record. It's hilarious, wonderful, and awful all at the same time.
Despite my minor issues here and there, Yentl could be an amazing Broadway musical, especially if the music closely adapts Michel Legrand's original score, which won “Best Original Song Score and Its Adaptation or Adaptation Score” at the Oscars.*
You can listen to the full soundtrack here.
Film: Deathtrap (Dir. Sidney Lumet, 1982)
So I watched this because the film was adapted from a play by Ira Levin. He’s actually one of my favorite writers, though we don't talk about the absolutely messy Rosemary's Baby sequel he wrote. It's quite bad despite the diversity win of including a canon trans character, even then her role is quite minimal.
I ended up loving this film, and the less you know about the plot, the better the experience it will be. It was such a ride constantly guessing how it was going to end.
You can watch the film for free on Tubi.
Book: Body Alchemy: Transsexual Portraits by Loren Cameron
I've been wanting to own a copy of this book for several years so I'm very glad to have one in my collection. It can be a bit difficult to buy, but it was absolutely worth the wait since there are some absolutely gorgeous photos of trans men included in this book.
You can read a digitized version of the book here.
*I took so long to upload this, the line is now too relevant as I'm posting this on the day of the 2025 Oscars.
2025-03-02 22:03:53 +0000 UTC
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Hi everyone, apologies for radio silent this month. I've been busy with work this entire month including an incident that occurred at my job that required me to have to fill out an.... uhhh let's go with a form you have to send to HR. So mentally, I've just been exhausted with all of that. I PROMISE I'll post some things in a few days this weekend, I'm just dealing with some mental blocks right now. I appreciate the patience and support for this month <3
2025-03-01 04:39:49 +0000 UTC
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So, one of the perks of joining the $5 and up tier means I do a monthly Q&A where I answer your questions. Since I currently don't have a lot of Patreons, I'm a bit nervous this idea will run out of steam quite quickly, and have decided to open the podcast to other ideas. I am including a link to a Google form where you can check off topics you’d like for me to discuss, and questions to send in.
Lately, I thought it may be fun to have the podcast be a place where I can discuss animated films that either contain queer content or are of interest. I was thinking of starting with.....
TEACHER'S PET!
I haven't watched this in full since I borrowed it from Blockbuster decades ago (I think??? Ooof!). These past few years, I've noticed people have been discussing it through a trans allegory lens, and technically there's some gender creative gags in the film, so it does count for my database outside of the allegorical lens of it all.
If there's a film you would like me to discuss, please feel free to suggest it in the form which I am again linking here.
2025-01-20 22:29:38 +0000 UTC
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So I'm still figuring out how I want to format my media recommendations. I'm still deciding whether to create smaller, multiple posts throughout the month, one larger monthly reflection, or a more graphic-oriented post. Some posts will focus on films, while others will highlight music. Ultimately, I want this to be a casual space where I share things I’ve enjoyed—hopefully, you'll enjoy them too! I'll try to focus on media that touches on queer characters, history, or themes, but I don't want to limit myself exclusively to that.
What media did you enjoy in December?
Films (Animation Edition):
Feature - Memoir of a Snail, I loved this so much! My favorite of Elliot's films in his current filmography, and possibly his most colorful as well? Was incredibly funny and dark but also had a sweet, uplifting ending.
Short - Pink Panic, haven't watched this since I was little and it's still held up. A fantastic choice to show during Halloween.
Music:
Compilation - I didn't listen to a lot of albums last month, but the one I consistently go back to is this fantastic playlist compilation of music that could be on a Katamari Damacy OST. I recommend the tracks Hazel Nuts Chocolate - "LOVE+PIECE+ICECREAM!" and Pecombo - "chanson des jumelles."
Lit:
Book - Since I started my new job, I've been reading so much more these past few months. Something I borrowed recently from the library was the anthology collection No Straight Lines: Four Decades of Queer Comics (2012). It's a very entertaining and interesting read, fantastic for those who want to learn more about the history of queer comic art.
2025-01-09 21:05:14 +0000 UTC
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I thought I'd write out some Queer Animation goals I have for 2025, plus this would be great to reflect and expand on at the end of year!
🖥️Update my Queer Animation database to over 400🖥️
This was not my best year updating my database, but ideally for the upcoming June 2025 release I'll have 150 works on there which will bump the total number of films to over 400.
🎞️Watch 1200 Golden Age animations🎞️
I watched 1000+ Golden Age animations this year, so I thought I'd push myself and aim for 1200 in 2024.
💥Finish watching Looney Tunes (Golden Age)💥
While this was a very productive animation watch year overall, I still want to actually finish watching every single Looney Tunes short in 2025. I apparently have a little under 390 left to go, all of which are from the 30s and 40s.
🥕Complete my Bugs Bunny spreadsheet🥕
I've been working on an accompanying Bugs Bunny spreadsheet as well, which was a 2024 goal but will now be moved to 2025.
🗣️Give at least 1 lecture🗣️
I'd love to start branching out and doing lectures this year. This is already slightly in the works, but I want to have some finalized presentations I can do rather than keeping it all in my head!
📚Read 10 books related to my research📚
I am SO behind in my reading this year, so I'm excited to do some catchup this year.
📝Complete 4 articles for Cartoon Research and 3 articles for Substack📝
This was not my best year for article writing. So hopefully this new year will give me more free time to continue my writing.
📱Post more regularly on social media📱
With this winter break I'm hoping to actually plan out my social media posting for at least 3 months. It would be great to start regularly posting on the socials again! Getting my follower count up on Instagram up to 1000 is a 2025 goal of mine as well.
🎙️Work on my audio and video editing skills🎙️
I'm hoping to post some AMAs on here, and try my hand at making my first video essay!
🔒Work on some super secret project stuff🔒
Unfortunately I can't delve into this yet, but hopefully in a few more years I can circle back to this!
2025-01-05 20:34:10 +0000 UTC
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NOTE: While I can't guarantee an early release for every Cartoon Research article, I am able to share this one for interested readers! The only difference between this article and the one on Cartoon Research are the images.
Yes, I’ve returned! As I had been asked before about where I’ve been, the first thing to state is that I am in good health. My inconsistent writing schedule is in part due to the work I do outside of my queer animation research. For most of this year I was working full-time and only a few months ago did I start a new reference position. While I am mostly silent about my research process on social media, I completed my research goal and viewed over 1,000 animated works from the Golden Age. The majority of these works were from the 1960s, which can feel like an endurance test some days. I am excited to write more articles for Cartoon Research in 2025, and I appreciate all my readers' patience and support. I now have a Patreon where you can access various lists related to this research, recommended works, and other valuable resources.
In this third and upcoming fourth part of the series, let’s examine the song simply titled “The Reluctant Dragon.” This article will delve into the original song, examining how it's incorporated in the film, the sheet music, and the original, full lyrics distributed to the public. Of particular interest are the lyrics, especially given the coded language incorporated throughout the dragon’s verses.
First heard in The Reluctant Dragon, the dragon’s song appears a few times. It acts as a bookend for the film and can be heard in both the opening and closing credits. During the film, keen listeners will know the song plays during the mock fight. This time, the instrumental follows the stylings of a music box, playing during another coded moment when the men waltz together amid the dust clouds. The highlight, though, is earlier in the film, when the dragon is enjoying a picnic by himself. Barnett Parker sings an excerpt from the dragon’s first verse (see lyrics below) before the boy interrupts him.
Whether Parker recorded a full version of the song is something I currently do not know. If I had to guess, I'd suspect he did not. This is a shame, as I found Parker's cover overall delightful. While not the most exceptional singer—Parker relies on his strong enunciation skills throughout the song—his brief rendition is still one to acknowledge within the larger "The Reluctant Dragon" song canon. Interestingly, the interruption occurs right before one of the more overtly coded lyrics. I’m assuming this was a purposeful decision to avoid any issue from the Hays Code. This occurrence indicates the severity of film regulations during this period, as “whoops” was printed in the sheet music and the reviews for the film, but not uttered within the film itself!
Some basic information about "The Reluctant Dragon": the music is by Charles Wolcott, and the lyrics are by Ed Penner, T. Hee, and Wolcott. Disney music fans will recognize Wolcott's name for his various contributions, including his orchestration work with Paul J. Smith in Bambi (1942) and his involvement in The Three Caballeros (1944), where he composed the song "Mexico" and served as a music director with Smith and Edward Plumb. This song was also released as sheet music and served as another way to promote and create merchandise for the film. Interestingly, I recently learned there was an additional musical arrangement sold during this period credited to Jack Mason. He composed arrangements for saxophone, trombone, trumpet, violin, and a vocal trio.
Online, it can be difficult to find a reliable source for the original lyrics of "The Reluctant Dragon." For ease of reference, I have included below a transcription of the lyrics from the original sheet music distributed by Broadcast Music Inc. To distinguish between characters, I have noted which verse belongs to whom, using N for narrator and D for dragon.
Lyrics:
N1- One fine day, while on my way to Ipswich by the sea
I met a rawther charming chap, who asked me in to tea
It seems he was a Dragon. You know, the kind with wings
Teeth, and tails, and claws, and scales, and all those dragon like details
I admit I jumped a bit when he began to sing:
D1- I'm THE RELUCTANT DRAGON. What ho! Quite so!
The very reluctant Dragon
Oh veddy, veddy, don't you know!
They call me the timid Dragon
What rot! I'm not!
I just won't fight; I'd rather play. I know I shan't get hurt that way
Here we go gathering nuts in May. Whoops! I'm reluctant.
N2- After we had sipped our tea, a thought popped in my head
A Dragon here? By jove! That's queer. He really should be dead!
I said, “I say, look here!” I said, “Aren't you a bit extinct?”
Then the blighter gave a cry, and heaved his bosom with a sigh
Wiped a teardrop from his eye, then blushed and coyly winked:
D2- I'm THE RELUCTANT DRAGON. What ho! Quite so!
The very reluctant Dragon
Oh veddy, veddy, don't you know!
They call me the timid Dragon
What rot! I'm not!
When others fight, I run away
It’s just because I'm built that way
I'm to be Queen of the May today
Whoops! I'm reluctant.
N3- Then he told of knights of old. It seems they were the bunk
They barged about in suits of tin and other sundry junk
The maidens fair with flaxen hair just littered up the place
When they asked him in to tea, which happened jolly frequently
He would sigh reproachfully and put them in their place
D3- I'm THE RELUCTANT DRAGON. What ho! Quite so!
The very reluctant Dragon
Oh veddy, veddy, don't you know!
They call me the timid Dragon
What rot! I'm not!
I'm much too shy to bill and coo,
So you chase me and I'll chase you
Roses are red and violets blue. Whoops! I'm reluctant
N4- Night wore on; we talked till dawn of many, many things
Of fish and chips, and cricket bats, and kidney pie and kings
At break of day I slipped away for Ipswich by the sea
And no matter where I am, in Piccadilly or Siam
When I have my tea and jam this song comes back to me.
D4- Reprise of D1
One will quickly notice that the lyrics don’t particularly relate to the events in the film, or for that matter even the original story. I go back and forth on whether I would have preferred a more faithful song adaptation. The lack of faithfulness does allow for a different narrator—I personally find the boy a particularly dull character in the original short. Changing him to an independent adult I feel benefits the song rather than hinders it—and a more overt coding of the dragon. Disney’s song—of the same name—for their short Ferdinand the Bull (1938), released a few years earlier, demonstrates how the studio balanced faithfulness to the original source material with queer coding a character. Going by the number of covers—both from the United States and internationally—it was a more successful song compared to “The Reluctant Dragon.” However, I don’t believe adaptation loyalty necessarily equates to how successful a work becomes, and perhaps if “The Reluctant Dragon” song had been released a few years earlier like “Ferdinand the Bull,” it would have achieved wider success.
For me though, the dragon’s verses are the most interesting sections of the song. While the film couldn’t even include a navel on the dragon, the song pushes subtlety aside, with the dragon declaring at the end of each of his verses, “whoops! I'm reluctant.” The history of “whoops” and its association with queer men —which I briefly discussed in my Tom and Jerry part 2 (and yes, I will be continuing that series in 2025; I appreciate the patience!)—is relevant here as a simple way of demonstrating how the audience should interpret this character’s sexuality.
In terms of how the song aged, for me, it’s a reflection of its time. In the dragon’s first verse he mentions: “Here we go gathering nuts in May.” Likely implying that the dragon is one of these “nuts” himself. The second verse builds on this May theme, further effeminizing the dragon, as he declares: “For I'm to be Queen of May today.” This line could also serve as a double entendre with “queen” referring to a gay man. The Oxford English Dictionary dates this usage back to 1919, though the website does note this usage may be much older, dating back to the 18th century. Personally, given the lack of subtlety in the rest of the dragon’s verses, I feel “queen” is intended to have this double entendre meaning.
Despite these lyrics in the song, I found one part especially interesting, which also occurs in the second verse:
“When others fight, I run away
It’s just because I'm built that way”
First, these lyrics portray a subtle difference in the dragon’s character. In the film, the dragon’s approach to conflict resembles something closer to pacifism. While the song portrays him as cowardly—a negative attribute unique to this adaptation—it’s that second lyric, “It’s just because I’m built that way,” that sparks my interest. It’s a rose among thorns situation, as it validates a queer individual’s identity as something inherently a part of them. Additionally, the dragon is happy living his life. Even though the song overall encourages one to laugh at the dragon, it does not send the message that the character should change his habits.
Though the Diagnostic and Statistical Manual of Mental Disorders (DSM) wasn’t published yet, narratives focusing on turmoil connected with homosexuality were written prior to this film. Mae West's play The Drag: A Homosexual Comedy in Three Acts (1927) serves as an earlier example. Though not widely available due to its limited run, the play became known for its controversial subject matter. The Drag includes the character Dr. James Richmond, a physician who serves as the medical “voice” on homosexuality. During the conversation with Judge Robert Kingsbury about homosexuality, Dr. Richmond mentions that there is distinction between those who are “born homosexual” and those who “acquire” it:
“But still you endeavor by law to force a man born with inverted sexual desires… to become something which his soul will not permit him to become. I’m not discussing those who are deliberately depraved or who have acquired the habit of this nameless vice through bad associations and environment. I am talking about the born homosexual…” (148-149)
Dr. Richmond then delves into the consequences and hardships these men experience due to homophobia:
“Or are we going to force them into secrecy and shame, for being what they cannot help being, by branding them as criminals and so lead them into the depths of misery and suicide?” (149-150)
Despite Dr. Richmond's generally tolerant views towards homosexuality, when Judge Kingsbury compares it to “cancer,” Dr. Richmond responds with, “There is a cure for this thing.” (150) Indicating that conversion, rather than acceptance and support, is the preferred path.
In closing, I want to open a discussion about music censorship during the 1930s and 1940s. This era of music history is not something I’m particularly knowledgeable about, and I am always intrigued by how censorship was enforced during this period—especially given that the dragon’s verses are more explicit compared to the film. If anyone can provide insight or recommend books on music censorship from this period, I’d greatly appreciate it.
2024-12-29 00:10:32 +0000 UTC
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Two different sets of sheet music from my personal collection. The first file is for a vocalist and pianist, while the second file contains sheet music arranged by Jack Mason and is for an ensemble performance. The sheet music includes arrangements for saxophone, trombone, trumpet, violin, and a vocal trio.
2024-12-28 23:48:06 +0000 UTC
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A new Cartoon Research article will be posted next week. Enjoy this (rough draft) insight I realized recently about the Code. Stay tooned for another related Cartoon Research related post in a few days 🎶🐲
2024-12-23 22:29:04 +0000 UTC
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A list of films I'm trying to learn more about for my book research. Note, films will be added and removed as I continue my research; and some of these works may be partially animated or even completely live action.
Many of these works I plan on streaming, others are unavailable as they are held at an archive, or fall into the impossible to locate category. If a film on the list has been watched under 100 times feel free to send me a tip about where one can view it.
A note, a majority of the films are SFW, but some of these are NSFW... Though now that I've mentioned that fact, I'm sure you'll be checking this list to see which works I'm referencing 😂
2024-12-16 02:36:05 +0000 UTC
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Not animated enough to count on the main canon, but still contains animated queer representation!
2024-12-16 01:18:18 +0000 UTC
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A list of animated works made by directors part of the LGBTQ+ community. The list is still in WIP form, so please suggest any directors I've missed.
2024-12-01 13:56:07 +0000 UTC
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